Books about other books are right up my alley. I recently enjoyed J. R. R. Tolkien's Sanctifying Myth by Bradley J. Birzer.
Tolkien said The Lord of the Rings was not an allegory. In his foreword to the second edition, he asserted, "As for any inner meaning or 'message,' it has in the intention of the author none." This was said in opposition to interpretations of Lord of the Rings as representing World War II, and the One Ring being nuclear weapons. On the other hand, Tolkien did say that "his Catholic faith was the most important or most ‘significant’ influence on the writing of the work.”
Tolkien’s Sanctifying Myth examines many elements which Tolkien drew on, namely his Catholic faith; his view of the role of myth, that “myths express far greater truths than do historical facts or events”; his love of languages, especially Anglo-Saxon, Old Norse, Gothic, and Welsh; medieval literature and studies, such as Beowulf; and Christian humanist philosophy.
God is never directly mentioned in Lord of the Rings, but Christian themes and symbols pervade. As Tolkien was mentally immersed in the ideas of sin, redemption, kings, prophets, priests, sacraments, Creators, angels, fallen angels, and so on; he made those things intrinsically part of the story. The story does not repeat the gospel in code as an allegory would, but it is a re-expression of the true concepts of redemption, heroism, overcoming evil, the continual return of evil, and so on.
To me, Birzer’s most fascinating explanation is how Frodo is a priest “who carries the Ring—the cross of Christ, the sins of the world—into the heart of hell (Mordor).” This representation complements my own Christian belief that sin is the power by which Satan strives to enslave humanity. Sam Gamgee is the story’s protagonist—the saint, his character sanctified and defined by loyalty. The story ends with Sam’s return to life as it should be, becoming a husband and father in the Shire.
Birzer’s book explains a great deal in a short space, just 138 pages of commentary plus notes/index. I will want to refer to it again, and recommend it as “what to read next” when Lord of the Rings has been enjoyed.
Saturday, June 27, 2009
Tuesday, June 23, 2009
Goat in shining armor
The Amaranth Enchantment by Julie Berry has several elements in common with the story of Cinderella, but is not merely a retelling of it. There are a prince, a ball, a cruel aunt serving as wicked stepmother, and a benevolent godmother of sorts. However, the Amaranth plot is more exciting, and the events more plentiful than in Cinderella. And there is an unexpected hero--an affectionate goat named Dog, who rescues the damsel at several different times of distress.
For me, this novel was quick, light reading. I read all 306 pages in just 5 hours or so. The reading experience was both pleasurable and an accomplishment--actually reading a book start to finish in a couple of days! When reading for pleasure, I am easily bogged down in /distracted away from regular-length books. My usual pattern is to start, enjoy 100 pages or so, then leave it unfinished. (This does not mean that I didn't like what I had read thus far!) Years later I return, the bookmark inserted where I left off, but nonetheless I must re-start from the beginning, because I can't recollect enough to support picking up right where I left off. Therefore, I really tip my hat to authors who hold my interest long enough for me to complete the book in one "session."
With my literary "attention span", I appreciate YA and middle-grade books for their brevity, but I would certainly not invest in them if they were not also highly engaging. A post today by Roger Sutton on his Read Roger blog, http://hbook.com/blog (which discussed a different topic on YA literature) has an astute comment posted by Walter Underwood, observing that YA books have "momentum, excitement, and no fat." Ditto to that! The Amaranth Enchantment is an engaging and concise novel which fits the bill for me.
For me, this novel was quick, light reading. I read all 306 pages in just 5 hours or so. The reading experience was both pleasurable and an accomplishment--actually reading a book start to finish in a couple of days! When reading for pleasure, I am easily bogged down in /distracted away from regular-length books. My usual pattern is to start, enjoy 100 pages or so, then leave it unfinished. (This does not mean that I didn't like what I had read thus far!) Years later I return, the bookmark inserted where I left off, but nonetheless I must re-start from the beginning, because I can't recollect enough to support picking up right where I left off. Therefore, I really tip my hat to authors who hold my interest long enough for me to complete the book in one "session."
With my literary "attention span", I appreciate YA and middle-grade books for their brevity, but I would certainly not invest in them if they were not also highly engaging. A post today by Roger Sutton on his Read Roger blog, http://hbook.com/blog (which discussed a different topic on YA literature) has an astute comment posted by Walter Underwood, observing that YA books have "momentum, excitement, and no fat." Ditto to that! The Amaranth Enchantment is an engaging and concise novel which fits the bill for me.
Thursday, June 18, 2009
A very cozy story
Jan Karon fans, here is another cozy author for you: Elizabeth Goudge, author of The Little White Horse. This story is full of little doors, caves, tunnels, hidden passages, and piles of delicious food. When I described the book to my husband, he came up with this quote, entirely made up, but entirely representative of the spirit of the story. To be said in a British little-old-lady voice, "Oh, bother, I fear we may run out of cream horns!"
But let me not mislead you--lack of strife in this book, and in cozy books in general, doesn't make them any less enjoyable. Like a simple meal with mild flavors, it is quite satisfying.
Credit goes to two literary celebrities for steering me towards Elizabeth Goudge. The first is J. K. Rowling. George Beahm's book Muggles and Magic: J.K. Rowling and the Harry Potter Phenomenon relates that The Little White Horse is Rowling's "favorite book, which she credits as a big influence on the Harry Potter novels." I myself didn't see any particular parallels between Goudge and Rowling; just that The Little White Horse is imaginative and fantasy-oriented.
The second literary celebrity who pointed me to Goudge is Nancy Pearl, America's de facto librarian laureate. Book Lust lists The Little White Horse under the Cozies category as "a special treat." I fully agree.
But let me not mislead you--lack of strife in this book, and in cozy books in general, doesn't make them any less enjoyable. Like a simple meal with mild flavors, it is quite satisfying.
Credit goes to two literary celebrities for steering me towards Elizabeth Goudge. The first is J. K. Rowling. George Beahm's book Muggles and Magic: J.K. Rowling and the Harry Potter Phenomenon relates that The Little White Horse is Rowling's "favorite book, which she credits as a big influence on the Harry Potter novels." I myself didn't see any particular parallels between Goudge and Rowling; just that The Little White Horse is imaginative and fantasy-oriented.
The second literary celebrity who pointed me to Goudge is Nancy Pearl, America's de facto librarian laureate. Book Lust lists The Little White Horse under the Cozies category as "a special treat." I fully agree.
Tuesday, June 9, 2009
The Orchestra--Snicket Tells All
The Composer Is Dead by Lemony Snicket is rife with puns and wordplay, as well as inside scoop about the orchestra. Snicket reveals personal traits about the instruments, all of which have the ring of truth. For example, the clarinets and oboes are sneaky and manipulative. And doesn't it sound perfectly right that the Tuba is a bachelor who stays at home and plays cards with his landlady? The accompanying CD is not just a ho-hum reading aloud of the text. The music, composed by Nathaniel Stookey, wonderfully expands the experience in the same way that quality illustrations extend the storytelling in good picture books.
Lemony Snicket, the narrator on the CD, has improved his performance since the days of his audio readings of the Series of Unfortunate Events books 3 to 5. His deadpanness (if I may coin a word) then was likely a conscious decision to complement the series' theme, but for me he was downright boring. Others seem to have agreed, because Tim Curry picked back up narrating books 6 to 13. For The Composer Is Dead, however, Snicket is sufficiently and fabulously dramatic, even operatic. He has come into his own on this reading.
Carson Ellis, the illustrator, was recognizable to me as the artist who does The Mysterious Benedict Society and, I thought, perhaps a Decemberists album cover. A little Googling reveals that she is married to Colin Meloy of the Decembrists, and drew many (or all?) of their covers. Her blog, at http://littlelittlegreenhouse.blogspot.com/ has lots of great work available to view.
A definite thumbs up for all three creators of this picture book/music/audiobook in all its formats. I would call it a Listening Experience.
Lemony Snicket, the narrator on the CD, has improved his performance since the days of his audio readings of the Series of Unfortunate Events books 3 to 5. His deadpanness (if I may coin a word) then was likely a conscious decision to complement the series' theme, but for me he was downright boring. Others seem to have agreed, because Tim Curry picked back up narrating books 6 to 13. For The Composer Is Dead, however, Snicket is sufficiently and fabulously dramatic, even operatic. He has come into his own on this reading.
Carson Ellis, the illustrator, was recognizable to me as the artist who does The Mysterious Benedict Society and, I thought, perhaps a Decemberists album cover. A little Googling reveals that she is married to Colin Meloy of the Decembrists, and drew many (or all?) of their covers. Her blog, at http://littlelittlegreenhouse.blogspot.com/ has lots of great work available to view.
A definite thumbs up for all three creators of this picture book/music/audiobook in all its formats. I would call it a Listening Experience.
Friday, June 5, 2009
Goldilocks--the Best Version
In my opinion, the best version of the story of Goldilocks and the Three Bears is as retold by Jim Aylesworth and illustrated by Barbara McClintock, 2001. It has the flavor of dramatic fireside storytelling. Goldilocks is a likable character in this version, because her motivations are explained sympathetically. Rather than coming across as the usual greedy, inconsiderate boor, Goldilocks is shown to be a curious little girl who at times just forgets her better self. For example, it is explained that she eats up Baby Bear’s porridge “without really meaning to.”
Aylesworth employs the old storytelling tool of repetition, describing how on this day Goldilocks keeps forgetting “not to do what her mother told her not to do.” She forgets “not to go into other people’s houses without being invited”, “not to touch other people’s food”, “not to use other people’s things without permission”, and “not to be nosy about other people’s private business.” She finally comes to herself at the instant the Bears wake her up, by remembering “not to talk to strangers”, and so she runs home.
Old-fashioned storytelling flavor comes from little, added words and phrases, like miniature commentaries, revealing the narrator’s presence and opinion of the events. Instead of merely reporting that the porridge smelled delicious, the narrator savors it, “And mmm, yes! That porridge smelled so delicious…” After Baby Bear’s chair crashes to the floor, the narrator offers, “Well, you might think that being dropped on the floor like that would have put a stop to her being so curious, but no, it didn’t, sadly no.” The narrator emphasizes the shock of Goldilocks’s misbehaviors by reinforcing with “Yes she did” or “No, indeed, she didn’t!” These informalities make the story seem like a juicy piece of gossip shared over the back fence. “And from all that I’ve heard, Goldilocks’s scary experience there in the woods that day did wonders to improve her young memory.”
Barbara McClintock’s illustrations show a great range of expressions on Goldilocks’s face as she proceeds on her adventure—glee, curiosity, disdain, gusto, and discomfort of several kinds. And as always, McClintock sets her pictures in the late nineteenth century period. I found two inside jokes. First, Goldilocks is holding a book in her room which just may be the Aylesworth-McClintock Gingerbread Man. Second, she loses a shoe while hastily descending the bears’ staircase.
The book ties in with three earlier Aylesworth-McClintock nursery tales by featuring a recipe for Mama Bear’s Porridge Cookies. The Gingerbread Man (1998), Aunt Pitty Patty's Piggy (1999), and The Tale of Tricky Fox (2001) each has its own recipe on the dust jacket.
This outstanding version of what is a very old story is a witness to the power of nursery and fairy tales to inspire writers and captivate readers even after many years and versions.
Aylesworth employs the old storytelling tool of repetition, describing how on this day Goldilocks keeps forgetting “not to do what her mother told her not to do.” She forgets “not to go into other people’s houses without being invited”, “not to touch other people’s food”, “not to use other people’s things without permission”, and “not to be nosy about other people’s private business.” She finally comes to herself at the instant the Bears wake her up, by remembering “not to talk to strangers”, and so she runs home.
Old-fashioned storytelling flavor comes from little, added words and phrases, like miniature commentaries, revealing the narrator’s presence and opinion of the events. Instead of merely reporting that the porridge smelled delicious, the narrator savors it, “And mmm, yes! That porridge smelled so delicious…” After Baby Bear’s chair crashes to the floor, the narrator offers, “Well, you might think that being dropped on the floor like that would have put a stop to her being so curious, but no, it didn’t, sadly no.” The narrator emphasizes the shock of Goldilocks’s misbehaviors by reinforcing with “Yes she did” or “No, indeed, she didn’t!” These informalities make the story seem like a juicy piece of gossip shared over the back fence. “And from all that I’ve heard, Goldilocks’s scary experience there in the woods that day did wonders to improve her young memory.”
Barbara McClintock’s illustrations show a great range of expressions on Goldilocks’s face as she proceeds on her adventure—glee, curiosity, disdain, gusto, and discomfort of several kinds. And as always, McClintock sets her pictures in the late nineteenth century period. I found two inside jokes. First, Goldilocks is holding a book in her room which just may be the Aylesworth-McClintock Gingerbread Man. Second, she loses a shoe while hastily descending the bears’ staircase.
The book ties in with three earlier Aylesworth-McClintock nursery tales by featuring a recipe for Mama Bear’s Porridge Cookies. The Gingerbread Man (1998), Aunt Pitty Patty's Piggy (1999), and The Tale of Tricky Fox (2001) each has its own recipe on the dust jacket.
This outstanding version of what is a very old story is a witness to the power of nursery and fairy tales to inspire writers and captivate readers even after many years and versions.
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